[Bouke Vahl]

Date creation time timestamp, I don’t give a rats ass.
What does the Samples After Midnight say? THAT is your time stamp!

But, if you don’t want WA, no sweat, I can build something like this in my BWF Toolbox (that you want anyways now or in the near future.) What kind of formats do you need on renaming?

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Hi Tangier,
I think it’s you, not WA.

If you turn ON ‘Preserve start TC’, a new timestamp will be created based on the Frame Rate and Sample rate you have set. And if that does not match the original, it will indeed mess things up.

Just a rename will do nothing to the timestamp, but if you want to exit, WA might bitch that you have changed the metadata, and will ask you if you want to save that. Just say DISCARD.

Note that a BWF file has a TIMESTAMP, not TC.
What is important is the ‘Samples Since Midnight’, that number should not change unless you know what you are doing!

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Hi David,
‘Your’ logic is understandable, but it’s an opinion.
In my opinion (and not mine alone, since I have a lot of customers who do exactly this) it does not pay off to have someone fly in to sit next to you for a week or so.
In a small country like mine, not all languages are represented.
Papua-New Guinea alone has an estimated 832 different languages…
It is very common to go to a country, find a local interpreter and shoot interviews.
Editing then is done back home, with totally incomprehensible footage.

I myself edited Kazakh without any help other than a word doc that had to be edited in the same way as the timeline. It was horrible. (That was some 20 years ago, I had a M100 that had only two video tracks and one title track.)
(And no, I did not work on Borat.)

On the bright side, no-one was able to check if the final subs (that was done after the piece was finished) were accurate. But over here we have a policy to be as correct as possible.

Besides Trevor (Hi Trevor!), there are at least a couple of companies and broadcasters who do exactly this because it is cost efficient.
Having said that, I recently had a conversation with a director on the subject. He does research journalism, and touches sensitive points. His broadcaster has had several lawsuits. To avoid as much mess as possible, they have to be utterly correct, no matter what it takes.
Getting a decent transcript is way easier / cheaper than finding someone who speaks the language.

My 2 cents…

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Can you export an ALE the way your problematic ALE ‘should’ be and re-import it?
In that case, you did something wrong. (Avid can bitch about the smallest thing being not as expected.)
If Avid does not like it’s own ALE’s, you’ve found a bug.
Otherwise, mail me the ALE’s and I’ll have a look.

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Well, I dont think you can chroma key the screen with shadow behind the girl. It’s not green, it’s dark grey.
So, it’s going to be a combo of (as you already did) motion tracking / chroma key / luma key.)

Now I’m afraid it’s never going to be good, so why not make it a cheesy effect with enhanced noise in the key, like it was intended to be an effect ‘back then’, with limited tools? That way you get away with it I would think…

But, do try all the keyers you can get your hands on, they all behave different.

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

I have no clue if it’s possible in Premiere, but in Avid it’s not a big deal.
If that is not an option, I could make you something that does this.

(Contact me directly if you would like me to make you an offer.)

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

In that case, relink to them again, the bins you have ‘should’ update then.

You might want to read the manual.

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Well, if there is no Avid Mediafiles directory, how did you get your clips in?
Where are the originals clips?

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Well, AFAIK, ProRes 4444 is 12 bits, so it would make a logical choice if you can handle it.

But, (not having seen your work), you would need a pretty hefty image after mastering to really gain from 12 bits.
(12 bits is able to hold 4 times more colors than 10 bits, and 16 times more than 8 bits.)

I bet you won’t be able to see the difference between 10 and 12 bits on the big screen. (Not in your studio anyways, since you probably don’t have the gear to display it in all it’s colors.)

So, if you can, render out a split screen with 10 and 12 bits and make a DCP, then become friends with your local theater for a screening.

I would say, if 12 bits is giving you any problem at any stage, and your budget is below let’s say half a million, 10 bits is good enough.
(And yes, others will disagree.)

Again, it’s your choice.

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

What output formats support 12 bit color except DCP?
Do you think you will ever go to DCP, or something else 12 bits?
Do you have the storage to put it?

It is your decision, and yours only.

Bouke
http://www.videotoolshed.com